Kochi Biennale & Hiriyanna

It seems like it something that I should have planned but I didn't - my reading of Hiriyanna's Art Experience was going so slow that it caught up with my long-planned biennale trip.

While I am still processing and will add to later blog, I thought I should capture the reading's revelations

The central point of this doctrine is that whatever is, is one; and the essence is manifested more clearly in the inner self than in the outer world.

Will add all that is related to my experiments:

1. The impact of the 'knowing' or cognition and its ability to give us complete joy and ananda. When the knowing (sensing) and the thinking (listening/cognition) blend. True beauty (understanding?) can only be realised and not just known.

2. The focus is taken away from the self - artist, speaker, etc and on what is being rendered or expressed.

3. The mental apparatus is meant to bring a mediation between purusa (self-awareness) and buddhi (5 elements). Da-Sien? Purusa to experience pain/pleasure or attain spiritual aloofness/disinterest. a man who moves beyond pain/pleasure is seen as Jivanamukti - related among themselves (holding the space - logos?)

4. What she experiences through art is moksha in glimpses.

5. Vendanta (old) and Samakya (new)

6. Sa-hrdaya - The listener and the listened need to be on the same page! "Every lover of poetry in this view is virtually a poet". appreciation of poetry is essentially the same as creating it.

7. Appreciation increases as you engage more - progressive appreciation.

8. Is the caveat for listening and paying attention - that it needs to entertain me? Is that why we tune off?

9. Hiriyanna talks about the need for lack of emotion when we engage with art. Man needs to forget himself. Therefore the joy you get is spontaneous

10. When listening do you give the feeling that there must be something that should be done? Listening should satisfy the yearning in woman for complete comprehension. Amen

11. Poet - giving the best expression possible to his work and not worry about anything else?

12. Stages of experience: a. emotional situation portrayed (hrdaya-samvada), b. absorbed in the portrayal (tanmayi-bhavana), c. aesthetic rapture or Rasa (rasaanubhava)

13. Aesthetics unlike ethics is illogical

14. neither real or unreal - content and form (Peirce's Sensing?)

15 - Art - Contemplation rather than achievement (same for listening)

16. Realising the whole - you, the other and the environment

Art becomes the passive expression of a permanent attitude, as morality is the active expression of the same.

Essentially the same - impersonal spontaneous joy in action and in contemplation - two attitudes, applicable to listening too

17. santa rasa - easy to depict hard to live it

19. emotions are suggested by the poet and helps awaken in the mind of a competent person, who will then inwardly experience it.

20. rasa - essence. alamkara - enhancer. dhvani - suggestion

21. Solving a problem. the aesthetic becomes a value only when it is realised in one's own experience.

22. How can we share becomes important, if I (speaker) is the art itself? Words, emotions, convictions - how do I bring it alive so that I can provoke listening of the greatest order.

23. 1. Intuition. 2. logical knowledge. 3. economic. 4. ethical - intuition independent (good artists can keep you here longer (sensing too?)) whereas ethical dependent!

24. Croce -intuition does not bring in the cognition/thinking, even that the most highest forms. Argument against it is without the thinking/cognition higher forms of knowing is not possible - keshav and kiran

25. sravana - knowledge of god, manana - reflection upon it, dhyana - meditate to transform into direct experience. jivanamukti through art is temporary and lacks the essential knowledge that religion - I think.